曾国藩行书手卷
曾国藩（1811年－1872年），初名子城，字伯涵，号涤生，晚清时期政治家、战略家、理学家、文学家、书法家 ，清末汉族地主武装湘军的首领。清朝战略家、政治家，晚清散文“湘乡派”创立人。曾国藩与胡林翼并称“曾胡”，与李鸿章、左宗棠、张之洞并称“晚清中兴四大名臣”。封一等毅勇侯，谥号“文正”，后世称“曾文正”。
Zeng Guofan (1811-1872), initially known as Zicheng , character Bo Han, and number Tesheng , was a politician, strategist, rationalist, literary scholar, and calligrapher of the late Qing Dynasty, and the leader of the Xiangjun , an armed force of Han landlords in the late Qing Dynasty. He was a strategist and statesman of the Qing Dynasty, and the founder of the Xiangxiang School of prose in the late Qing Dynasty. Zeng Guofan was known as "Zeng Hu" together with Hu Linyi, and "Four Famous Ministers of the Late Qing Dynasty" together with Li Hongzhang, Zuo Zongtang and Zhang Zhidong. He was awarded the title of Marquis of Yiyong, and his posthumous name was Wenzheng, which was later known as Zeng Wenzheng.
曾国藩在书法上的突出成就一直被他历史上的重大影响所掩盖。其对于书法理论的阐述十分透彻。他首先对当时阮元抛出的南北书派论有独到的认识，对其既赞成又提出批评，主张南北兼而有之。对书法的本源，提出乾坤大源之说，形成了一个系统的书法理论观。
Zeng Guofan's outstanding achievements in calligraphy have been overshadowed by his significant historical influence. His exposition of the theory of calligraphy was very thorough. He first had a unique understanding of the North-South School of Calligraphy theory thrown out by Ruan Yuan at the time, both favoring and criticizing it, advocating both North and South. On the origin of calligraphy, put forward the Qiankun Da Yuan said, formed a systematic view of calligraphy theory.
他主张：“作字之道，刚健、婀娜二者缺一不可。余既奉欧阳率更、李北海、黄山谷三家以为刚健之宗，又当参以褚河南、董思白婀娜之致，庶为成体之书。
He advocated: "The way to make words, robust and graceful are indispensable. Yu both Ouyang rate more, Li Beihai, Huang Shangu three as a robust ancestor, but also when the reference to Chu Henan, Dong Sibai will be graceful, so as to become a style of the book.
曾国藩一生勤勉于书法创作，走过了一条由泛而专，由继承古典到创新时尚的曲折探索道路。他的楷书劲健刚拔，竖起了一面承唐继宋明而刚柔相济的正书旗帜。他的行书劲健遒俊而华美。他的小楷与小行书是整个清代的典范。他应是与同代包世臣、何绍基齐名的大书家。 接下来，我们欣赏曾国藩的行书作品：
Zeng Guofan diligently in calligraphy, walked through a generalized and specialized, from inheritance of the classical to innovative and fashionable twists and turns to explore the road. His Regular Script is strong and robust, erected a Tang and Song and Ming and rigid and flexible flag of the book. His running script is strong, robust, handsome and gorgeous. His small regular script and small running script are the model of the whole Qing Dynasty. He should be a great calligrapher on a par with his contemporaries Bao Shichen and He Shaoji. Next, we appreciate the works of Zeng Guofan's running script:
曾国藩的书法斩钉截铁，尤其是文字的转折之笔上，方折为主，十分干练，而且不少点画，那种浑厚之气，也跃然纸上，真是让人大开眼界，字形上却有特别之处，比较高度，有着明显的改变：不仅有尚意的风格特色，而且还有明显的时代特征，笔墨随时代，这种表现力更加突出。
Zeng Guofan's calligraphy decisive, especially on the text of the turn of the pen, square folding-based, very competent, and a lot of dots and paintings, that kind of thick air, but also jumped off the paper, really eye-opening, but there are special features of the character, compared to the height of a clear change: not only is there Shangyi's stylistic features, but also obvious characteristics of the times, pen and ink with the times, this expressive power is more prominent.
曾国藩的影响长存于世；他是中国近代史上一位重要的人物，他的才华、勇气和决心值得我们铭记和学习。
Zeng Guofan's influence lives on; he is an important figure in modern Chinese history whose talent, courage and determination deserve to be remembered and studied.
